Part 21

Hérold returned to Paris shortly after the successful production of his first opera, stopping en route in Vienna, where he made many musical acquaintances. Arrived at the French capital he at once made his arrangements for an active and busy season of writing for the stage. His first concern was to find a libretto adapted to his purpose, and it was while engaged in this difficult search that good fortune came to him in the request of Boieldieu that he would write the last half of an opera upon which he was then engaged, “Charles de France,” and which was brought forward in June, 1816. Collaboration of this kind was far from being uncommon at that period, particularly in France. He not only wrote “Charles de France” with Boieldieu, but “Vendome en Espagne” with Auber, and “L’Auberge d’Auray” with Carafa, while in “La Marquise de Brinvilliers” no less than nine composers of prominence were represented—Hérold, Auber, Batton, Berton, Blangini, Boieldieu, Carafa, Cherubini and Paër. The rage for collaboration also spread to literature and has been continued even into our time by Erckmann-Chatrian. The results of such work are more tolerable however in literature than in music, where unity of style is one of the essentials. His association with Boieldieu was of special advantage in introducing him to the theatrical world of writers, and he soon was at no loss to find libretti, good, bad and indifferent, many of them, it must be confessed, of the last two sorts. His first opera after the Boieldieu collaboration was “Les Rosières,” in three acts, (1817), which proved to be a success. Flushed with the prestige of this work the young composer immediately set about another, and before the year closed had finished “La Clochette,” which not only was successful, but as its fresh and taking airs caught the popular fancy, at once made him a favorite in the gay city. His industry now became prodigious. He was seized with the very demon of work and while in this mood he eagerly accepted everything that was offered him in the way of a libretto as affording a new outlet for his musical activity. The result was detrimental. Year after year he produced operas for the stage, some of which had but one or two hearings, while others were vigorously hissed, not on account of the music, but by reason of the weakness and commonplaceness of the stories and their utter lack of dramatic merit. Among such operas were “Le premier Venu” (1818); “Les Troqueurs” (1819); “L’Auteur mort et vivant” (1820); “Lasthénie” (1823); and “Le Lapin Blanc” (1825). Now and then, however, an opera was produced which made compensation for so many failures, and among these was “Le Muletier” (1823), which was highly esteemed, especially by those whose opinions were of value. In fact Hérold had no idle moments. During all of this period, and for two or three years later (1820–29), he was actively connected with the stage. In 1820 he accepted the position of piano accompanist for the Italian Opera and held it for seven years. In 1821 he was dispatched to Italy with a commission to engage artists, and from 1827 to 1829 was chorus master at the Académie de Musique. All this was practical experience of a valuable kind in the accessories and environments of his profession, and undoubtedly contributed many of the elements which led up to his ultimate success as an operatic composer by giving him a knowledge of the details of the stage, the habits and peculiarities of singers, and the limitations of the dramatic art which are so essential to the complete equipment of the composer. During a portion of this period he turned to other forms of composition. In 1827, he devoted himself to ballets. Of these, “Astolphe et Joconde,” “La Sonnambule,” “La Fille mal gardée,” “La Belle au bois dormant” and “Sylvie” are the most conspicuous. All of them are characterized by the same graceful and romantic style which is to be found so often in his operas. During this same period he wrote a voluminous amount of piano music, such as sonatas, caprices, rondos, fantasies, divertissements and variations, the most notable being a sonata in A flat, the “L’Amante disperato” sonata, the Rondo Dramatique, the “Pulcinella” caprice, variations on “Au clair de la lune,” “Marlbrook,” an arrangement of the “Moses in Egypt” of Rossini, whose music largely influenced his style, and incidental music to the drama of “Missolonghi,” which was produced at the Odeon. A letter written by his friend Chanlieu refers to this period. In speaking of the failure of some of his operas, M. Chanlieu says: “How many times in our solitary walks he lamented lost time and forced inaction! Disgust mastered him and made itself felt even in his piano music which, with the exception of two or three other works, was a species of current money to which he attached no value. It was, however, at that time that he wrote his fantasias on themes by Rossini, which had a great sale and at which he was the first to laugh. The spirit of youth still sustained him; he was gay and vivacious in private, but in public morose and caustic.” Rossini not alone influenced his musical style. It was through his courteous and kindly offices that Hérold received the decoration of the Legion of Honor, Rossini going so far even as to refuse it for himself unless it were also awarded to his friend.

To return to his operatic compositions, there were some others during this gloomy period of frequent failures which achieved success, among them, “Vendome en Espagne” (1823), which he wrote with Auber, “Le Roi Réné” composed for the fête of Louis XVIII., “Marie” (1826) and “L’Illusion” (1829), which enhanced his reputation and paved the way for the two works which were to be the crowning successes of his life. “Zampa” was produced May 3, 1831, and aroused something like a furor in Paris, though its most enduring success has been made in Germany. It still keeps the boards upon the continent, and though rarely heard in this country, its overture remains a conspicuous feature of concert programmes. With “Zampa” Hérold’s success was firmly grounded, though the work bears unmistakable indications of German influence and is written in the broad, serious style characteristic of the German composers. It is for this reason that it has been more favorably received in Germany than in France, though its merit was fully recognized by Hérold’s own countrymen. It restored the waning fortunes of the Opera Comique, saved it from ruin, and made Hérold a popular favorite. At this time he was chorus master, but a few weeks after his success he was dismissed by the new director upon the excuse that it was necessary to retrench. He had only a verbal contract, but he appealed to the courts, and his appeal was sustained after nine months of litigation, the courts holding that there was an implied contract. He accordingly was reinstated, but soon the fortunes of the Opera were involved in another financial crisis. The director sought to retrieve them with a sensation and in 1831 brought out the musical play of the “Marquise de Brinvilliers.” Scribe and Castil-Blaze wrote the text together, and nine composers, whose names have been given elsewhere, arranged the musical setting. The combined efforts of the collaborators, however, failed to produce anything more than a nine days’ wonder, and the doors of the Opera were reluctantly closed. Six months later a new location was chosen and the opera once more made its appeal to the public with a new work by Hérold, “La Médecine sans Médecin.” Its success fell far short of that which “Zampa” had enjoyed, but it served the purpose of keeping the Opera on its feet until Hérold had finished another work which was destined to complete his fame and to restore the Opera Comique to its old prestige. It was, alas, his swan song. “Le Pré aux Clercs” was performed Dec. 15, 1832. It had a success of enthusiasm. Unlike “Zampa,” it was a purely national opera, with an historical theme treated with genuine French grace and spirit, and abounding in characteristic French music which commended it to the Parisians. Its reception was attended with a remarkable display of excitement and popular acclamations. The audience rose to a man and called for the composer but he was unable to make an appearance. The fatigues of rehearsals and the tumultuous events of the evening were too much for his already enfeebled condition. He was taken home, but had hardly arrived there when he had a dangerous hemorrhage. He lived but four weeks after his great success, dying of consumption Jan. 19, 1833, the same disease which had proved fatal in his father’s case. His funeral took place on the 21st. He was buried at Père la Chaise, near Méhul, and addresses were made at the grave by Fétis and Saint-George. He left a widow, Adèle Elise Rollet-Hérold, to whom he was married in 1827, and three children, Ferdinand, an attorney, Adèle, and Eugenie who also was a musician. “Le Pré aux Clercs” was not his last work in the list of performances, for after his death the overture and four numbers of another opera, “Ludovic,” were found among his papers. The work was completed and produced with success by Halévy. His biographer, M. Jouvin, says of it: “In what proportion did this posthumous child of Hérold belong to its father and its godfather? I know not. I have not the opera of ‘Ludovic’ under my eye. I have not been admitted into the secret of the work done by the musician who two years later wrote ‘La Juive’ and ‘L’Eclair’ without taking breath. I only charge myself to report, without guaranteeing, a tradition which attributes to Hérold the overture and four pieces in the first act of this lyric drama.”

The peculiarities of Hérold’s style which distinguished him from the other operatic composers of his period were the freshness and originality of his ideas, the grace and refinement of his conceptions, which are displayed to special advantage in his ballets, the variety of his melodies, and the highly emotional and imaginative character of the man himself. He was the legitimate successor of Boieldieu and reflected his romantic moods, and it will be remembered coöperated with him in his first work after his return to Paris from Italy. With these purely subjective qualities he combined an instrumentation that is always rich in color and dramatic in effect, an intimate knowledge of the stage and its resources, and a superior degree of literary taste and culture, though the latter distinction did not always save him from accepting commonplace and sometimes worthless libretti. The reason for this is probably to be found in his prodigious activity, which induced him to accept such poor books in the hope that his music would excuse them, rather than spend his time in idleness. Though possessed of undoubted originality if not of actual inspiration, he was greatly influenced by the works of the composers, though in no sense can he be considered a copyist. During his Italian visit he was much impressed with Paisiello. In a letter to his mother about the year 1815 he says: “I have fallen into one error here—that of neglecting M. Paisiello.... I can say that I study much the music of Paisiello and find it delicious.” The Italian influences did not last long however. Upon his return to Paris he was devoted to the music of Méhul, with whom he had studied in the Conservatory. Rossini influenced him greatly for a time and how far he had studied Mozart is shown in “Zampa,” which was constructed upon the lines of “Don Juan.” In this connection, M. Scudo, in his criticism of “Zampa,” makes the following pertinent remarks: “The side of this work that stands open to criticism is, as nearly always with Hérold, confusion of styles. The austere and sober phrase of Méhul is found in company with Italian bravura. The chansonette disperses with its importunate cockcrow all the phantoms worked from the supernatural. Mozart, Méhul, Weber, Rossini, Auber, how many more?—may be found in the hybrid formation of this superb monster. Under the mobile structure of that orchestra, so full of presentiments and mysteries, you distinguish Weber. Those duets, those Venetian colored finales, conceived, worked with the vigorous authority of a master, speak to you of Rossini, while here and there the small details, the grace, the spirit, the lively and piquant features murmur in your ears the names of Boieldieu and Auber.” His own thoughts which he committed to paper, however, and which were found among his documents after his death, will give a clue to his style and to his ideas of what constituted artistic excellence. Among many other things he says: “Melodies must come from the soul to reach the soul of the auditors.” “Try to find a just medium between the vague music of Sacchini and the vigor of Gluck. Think often of Mozart and his beautiful _airs de mouvement_.” “Lean always to the side of melodies free from platitude.” “In all arts, and particularly in music for some time past, people are skilful in finishing and polishing without reflecting how much more important is a good general design.” “Of melody as much as possible.” “Declaim with truth and strength.” “Find themes which bring tears.” “‘Great sorrows are silent’ observed Seneca. Thus Hero seeing the floating corpse of Leander held her peace. He who goes to the Opera only to hear the music had better frequent the concert-room. The musical tragedian ought above all to sing but ever in agreement with the situation.” And then, as if to answer the comments of some of his critics: “Why not use several styles in a great work? A chief priest can sing in the ancient manner, the others in the modern.” “Church music ought to pray for those who listen to it, as said Salieri.” M. Gustave Chouquet, the keeper of the Museum of the Paris Conservatory, has well summed up the characteristics of Hérold in his analysis of “Zampa”: “In a word we recognize in ‘Zampa’ the hand of a master, who to the spirit of Italian music unites the depth of the German and the elegance of the French School.”

The principal works of Hérold include twenty-two operas, one cantata, five ballets, three sonatas, three string quartets, two symphonies, seven caprices, seventeen rondos and divertissements, seven fantasies and three variations. Of the operas the following have been the most successful: “La jeunesse de Henri V.” (1815); “Charles de France” (1816); “Les Rosières” (1817); “La Clochette” (1817); “Le Muletier” (1823); “Vendome en Espagne” (1823); “Marie” (1826); “L’lllusion” (1829); “Zampa” (1831); “La Médecine sans Médecin” (1832) and “Le Pré aux Clercs” (1832). Though none of these works can be called familiar in this country, it can hardly be doubted that the two operas “Zampa” and “Le Pré aux Clercs,” which saved the Opera Comique, and which paved the way for Ambroise Thomas, Bizet, Massenet and the modern French school, would repay revival and achieve fresh popularity.

DANIEL FRANÇOIS ESPRIT AUBER

A life more peaceful, happy and regular, nay, even monotonous, or one more devoid of incident than Auber’s, has never fallen to the lot of any musician. Uniformly harmonious, with but an occasional musical dissonance, the symphony of his life led up to its dramatic climax when the dying composer lay surrounded by the turmoil and carnage of the Paris Commune. Such is the picture we draw of the existence of this French composer, in whose garden of life there grew only roses without thorns; whose long and glorious career as a composer ended only with his life; who felt that he had not lived long enough, and who clung tenaciously to life, energetically refusing to drop this mantle of mortality, postponing the final moment by the mere strength of his powerful determination to live.

Auber, the most Parisian of Parisians, who could never tear himself away from his dear native city, even for a short excursion in the summer, was born,—as it happened—at Caen, towards the end of the month of January, 1782. I say, “as it happened,” because the composer’s parents were not settled in that town and were only staying there temporarily when the future author of “La Muette de Portici” made his entrance upon the stage of life. His father was a print-seller in Paris. Being a thorough business man he wished his son to become a business man also. To this end, when his child had received a somewhat summary education, and had almost reached man’s estate, he sent him to London to begin his career in a house of business.

Even at this early period the young Auber was considered a distinguished amateur musician. He played the piano well, and had made successful attempts at minor composition, such as ballads, small morceaux for the piano, etc. Realizing that he was not fitted for a business life, but for that of a musician, Auber returned to Paris, where he was not long in making for himself a reputation in the fashionable world. He was looked upon as an agreeable pianist and a graceful composer, with sparkling and original ideas. He pleased the ladies by his irreproachable gallantry and the sterner sex by his wit and vivacity. During this early period of his life Auber produced a number of _lieder_, serenade duets, and pieces of drawing-room music, including a trio for the piano, violin and violoncello, which was considered charming by the indulgent and easy-going audience who heard it. Encouraged by this success, he wrote a more important work, a concerto for violins with orchestra, which was executed by the celebrated Mazas at one of the Conservatoire concerts. He also composed, for his friend Lamare, concertos which were applauded by the general public. This Lamare was a violoncellist of great talent and erudition, but so barren of musical creative power that he could not originate the simplest melody nor compose a note for his own instrument. Auber adapted his music so cleverly to the playing of the eminent instrumentalist that Lamare said to him: “Nobody would think, my dear Auber, that I was not the composer of these concertos, so strongly are they impressed with my personality.” To which Auber replied: “Since that is so, my dear Lamare, the concertos shall be published in your name.” And as a matter of fact they were so published, successively, under the name of the violoncellist. The public thought he was the author of them, but musicians were aware of the truth, which has been an open secret for a considerable time.

It is evident that although Auber made his début as a dramatic composer at a late period, he early practised this art as an amateur, producing his compositions in the Paris drawing-rooms. These drawing-rooms were his academy of music up to the time when, convinced that he had still much to learn in the practice of counterpoint, he sought assistance from the illustrious Cherubini, whom he was destined one day to succeed as director of the Paris Conservatoire.

The first work that Auber submitted to public judgment was a comic opera in one act, entitled “Le Séjour Militaire,” which was produced at the Théâtre Feydeau in 1813. Auber was then thirty-two years old. This piece was not his first attempt in theatrical work, however; for he had previously written a comic opera for the Prince de Chimay, and before this, still another work for a small orchestra, which was represented in an amateur theatre. He had also composed a Mass, with orchestra, in which occurred the admirable chant which he used at a later date in the famous prayer in his masterpiece, “La Muette de Portici.” “Le Séjour Militaire” may be regarded merely as marking a date in the biography of the French composer. This piece, of somewhat doubtful buffoonery, passed unnoticed by the general public. Indeed the musician himself was very slightly impressed with it, being but imperfectly inspired when he wrote it. Nevertheless a writer then celebrated, M. Martinville, discovered in this score several pretty _motifs_ and a great deal of wit.

From 1813 to 1819 Auber remained silent, and it might have been thought that he had ceased to exist. What became of him during this long period? He still continued to appear in society and, when in the humor, to write as an amateur fugitive pieces of music set to subjects of the same character. He asked dramatic poets to write pieces for him, but they were not very anxious to do so after the failure of “Le Séjour Militaire.”

About this time the composer’s father died, leaving a widow and two sons without fortune. During this period, when the eminent musician that was to be was still pursuing his studies, he found himself face to face with pecuniary difficulties; but he supported them bravely, never complaining.

Planard, the most fashionable librettist of that day, was accustomed to gather around him in his little house at Passy—which was not then considered one of the districts of Paris—a company of amateurs and artists. There was music, and Auber, one of the most assiduous habitués of the house, accompanied on the piano. In this way it came to pass that Madame Planard took a great interest in Auber and espoused his cause.

“My dear,” she said to her husband, “can you not entrust one of your poems to poor Auber, who is so well-bred, so witty, and so good an accompanist? I am convinced that he will earn himself a name among our composers. It is a pity that he should compose operatic airs without words because he has none to work on.”

Women always gain the day, whenever they plead in favor of the unknown and the lowly, and Auber was then both unknown and lowly. Madame Planard pleaded so well in this particular instance that her protégé obtained from Planard two pieces instead of one to set to music. The first was a piece in one act, entitled “Le Testament et le Billet Doux,” which unfortunately met with a much less favorable reception from the public than “Le Séjour Militaire,” and that had been a failure. The next venture was “La Bergère Châtelaine,” in three acts, and it made ample amends for all previous mortifications. Its success was unanimous and brilliant. None too soon indeed. Had the author lost this opportunity his future as a composer would have been irretrievably ruined, for no poet would have entrusted him with a libretto.

At the time when Auber produced “La Bergère Châtelaine,” the turning-point in his artistic career, he was thirty-eight years of age, just a year younger than Rossini when he closed his with that immortal masterpiece “Guillaume Tell.”